Yang Fudong

In the process of engaging with contemporary art, I have got a lot of inspiration and developed many different ways of thinking. Over the years, people, conversations, changes in the environment, and various other things have influenced my perceptions and thought processes. All these factors shape my creative ideas and thoughts at a particular time.

Most of my works contain black and white images as I really like its texture and it gives me a better sense of time and space.

I haven't ever planned out the trajectory of my creations from the earliest to the most recent works. They are like a plant that grows organically and steadily. It is this natural growth and development that allows me to gradually take root and bear fruit on my path of creation.
In my recent works, including the new film Sparrow on the Sea, different periods of time allow for different reflections and perspectives. As I grow older, I have started to contemplate how time influences one’s dreams and ideals, as well as how societal and personal life intertwine. These inner and outer worlds do not exist independently, but influence and communicate with each other.
I think this entwined feeling is like a film in one’s heart, where the imagination is both clear and vague. Sometimes, my inner emotions are vividly clear, but are difficult to articulate precisely. Within this interplay of ambiguity and clarity, there are many things worth thinking about.

It is about a sparrow questioning whether it has the courage to fly across the sea. Sometimes when a little bird faces the vast sea, it would find it difficult to take off. If the bird faces the vastness of the sea and has the courage to try, it would be lovely.

When I was in school, my teacher said, “Art is rooted in life. Time is always with you and time also leaves you.” Regardless of age, whether you are young or old, each individual can live their own wonderful life.

When I was in university, I had a strong passion for Hong Kong movies, music and books, especially martial arts novels, which were very popular in mainland China and gave me a sense of familiarity. From my memories of growing up and from past experiences, I am impressed by many aspects of Hong Kong. As time goes by, I have visited Hong Kong frequently for exhibitions and events, which makes me realise that Hong Kong is such a diverse and international city—it’s like a window to the world. Many films by Hong Kong directors have had a profound emotional impact on me and have created lasting memories: Wong Kar-Wai's Days of Being Wild, John Woo's A Better Tomorrow, and Stephen Chow's performances in A Chinese Odyssey and Kung Fu Hustle. A Chinese Odyssey, in particular, had a significant influence on college students at the time. I believe that the beauty conveyed in these remarkable works not only influenced me personally, but also our generation.
I also remember the renowned photographer Fan Ho capturing the unique texture of Hong Kong with his distinctive black and white aesthetics and dramatic use of light and shadow. Therefore, during the filming [of Sparrow on the Sea], I shared Fan Ho's works with my film crew. Sometimes, we need to learn from and pay homage to the masters.
When shooting this work in Hong Kong, I discovered that this city is incredibly beautiful and perfect for filmmaking because it has mountains, water, and the sea, combined with modern urban architecture, creating a unique urban forest atmosphere. The tall buildings and old structures form a fascinating space.

I had an early discussion with Ulanda Blair, Curator, Moving Image, M+ about the Sparrow on the Sea project. We explored the idea of how it might be more interesting to produce the film in Hong Kong, as I believe establishing a connection with the city would add to its appeal. The artwork itself is presented on the large façade of the M+ building. I decided to make a one-hour film for the M+ façade, and not to change the film length, so it’s like a standard feature film. It plays quietly on the façade without any sound. The entire city of Hong Kong, along with the surrounding sounds of roads, cars, the sea, ferries, boats, and so on, becomes the film’s soundtrack or in-built audio. The screening lasts for four months, from 7pm to 9pm every evening, and the film's soundscape evolves alongside the changing sounds of Hong Kong within this timeframe. So, in a way, it becomes a four-month moving image or a novel that can be read in one's mind.

Sometimes buildings are just like people, living and breathing, but it depends on how you understand and see them. Although a city’s buildings are merely structures, they have a sense of vibrancy and vitality. To me, some buildings have their own life, and some are drawn from our own imagination. Buildings and people make up a city, and their relationship is a kind of flow of time that carries emotions connecting everything.
When shooting the work in Hong Kong, I discovered that the city possesses an elegant beauty that is hidden. In crowded modern streets like Hollywood Road, whether it's daytime or nighttime, there is always an unexpected turn where you will find something interesting, some distinct features that capture your attention. I find Hong Kong's street corners very beautiful, not just the seaside areas like Repulse Bay and Shek O village. In these bustling places, when you casually turn around, you may notice something interesting. These corners represent the urban life and are incredibly pleasant and beautiful.

The city’s ambient sounds—of sea water, boats, cars, people, buildings—all become the soundtrack or the music of the work. Each viewer can have their own unique experience combining the sound that they hear in this city and the visual they see from the work. The viewing experience changes as time goes by. It is an architectural film, an open-ended public film to be appreciated in one’s heart.

The size of production team differs, depending on the creative concept. Sometimes we need to work with a large team, sometimes two to three people will suffice. I would say the professionalism of the team members are what’s most important.

Cooperation within the team is of utmost importance. Each director or artist may have their own unique working approach, but the key is to work cohesively, to be inclusive and to understand one another. The artwork creation relies heavily on the great support from the team.

I am flattered. I am just an ordinary artist.

I would like to create many more works in the future, but considering my age, I might have to work within my competence!